Wednesday 30 October 2019

Meth Fetish - Meth Fetish EP

Labels: Dry Cough Records/Piss Gargler Records
Formats: CD/Tape/Digital (maybe, though it's not available yet)
Release Date: 01 Nov 2019


1. Blinded To The Suffering
2. Wasted
3. 200 Ton Self Destruction
4. Incurable
5. Repeated

This is the 40th release from a label whose 1st release was a discography tape by US sludge/doom band Plague Survivors. That piece of detail is important because Meth Fetish is a similarly gnarly sludge band of that ilk. This international duo hasn't been around for very long and this is the band's first utterance, having been self-released in 2018. 

Here goes, a leap into the unknown (sort-of). Far from the drawn-out, festering riffs of the sub-genres current fave’s, Meth Fetish presents a filthy and sometimes death metal-laden take on sludge/doom. Blinded To The Suffering is a bass-heavy opener with crashing percussion and vocal shrieks that sound like they’re made of razors. Screeching feedback is also a fixture as you’d expect and it leads you into Wasted with barely a moment for your ears to rest from the ringing. Wasted feels and sounds a lot more claustrophobic this time, as the duo slows things down. It’s awesome.

The longest song on the EP is very aptly titled 200 Ton Self Destruction and destruction is exactly what Meth Fetish set’s out to achieve…mentally anyway. After it’s lengthy instrumental build-up it becomes more of a groovy beast, albeit one with undertones of menace and misery at it’s core.
Penultimate song Incurable has a minimalist feel to it early on, but with a tempo that seems to have slowed ever since the EP’s first song, it’s not gonna be all bells and whistles is it! Post-metal melodies seem to ring out amongst the feedback and the drumming keeps you guessing as to when it’s going to explode. It’s much more improvisational than you might expect and it never truly does explode, with the vocals coming in at mid-point and an off-kilter vibe flowing though it all.

Without releasing it you’re thrust straight into EP closer Repeated and this is where the gloom really takes hold. The spoken-word sample sets the tone somewhat and what’s left is aural torture of the best kind. It’s getting to that time of year where dusting off those sludge records makes sense. You can add this to the list of releases that will not only keep you warm during the winter months, but will also make others realise trying to socialise with you is futile. A belter of an EP from a band that will certainly become more than just a fetish to many extreme metal fans. 

You can currently stream the full EP via CVLT Nation here:-

Tape copies are officially released via Dry Cough Records this Friday, but you can pre-order your copy here -

There's no official word on the CD pressing yet but keep your eyes on Piss Gargler Records here -

Monday 28 October 2019

Mental Health In Music: A Musician's Perspective #4 - Reece Thomas (Vocalist, Guitarist & Solo-noise musician)

Here's the latest instalment in my ongoing Mental Health In Music interview series, focusing on musicians within the metal and punk scenes, talking about their own experiences with mental health and what can be done to help people who're struggling. I have a few more on the way and in the planning stages, but for now please take some time to read Reece's perspective. Note: as with the previous interviews, these are not meant to be about the bands but rather the people and their own feelings.

1. The idea of this feature is to talk about the problems that musicians face, especially those in DIY or up-and-coming bands. Would you mind talking about your own experiences with mental health?

A. I’ve struggled with my mental health my entire life. My depression and anxiety has been a constant. Never really feeling like I’ve quite fit, even in music. In my early teens I turned to self destructive methods, trying to gain some sort of control. Severe Anorexia, drugs, cutting etc. My weight has always played a part in it. I used to have to cancel shows because I didn’t even have the energy to stand up without passing out. Music has been a saviour and destroyer. It’s carried me through my lowest possible lows, and sometimes kicked me down there. I got my first Walkman when I was about 6 and have been obsessed with music since. I’ve been playing in bands since I was 12 or 13 only really finding comfort in screamo. 


2. Being in a band can be an outlet for people to express their feelings and to help them get over certain things in life but do you feel that it can also have a negative effect? If so, what do think these effects can be and are these linked to writing, recording, touring etc?

It definitely can have a negative effect. I found it slightly easier in bands just because you can dissociate yourself from it a bit. When you’re screaming to a room about how you want to die in a band of friends, it’s easier to bare. 

I’ve had a love hate relationship with music. I've been writing as Alocasia Garden for almost 6 years now, that’s a big chunk of “important years”. Everything I’ve gone through has been put into this project. I can look back at releases and think “wow, if I didn’t make that at that time, I would of ended my life”. But that catches up with you and it feels like a dark cloud hangs over my desk. Every time I try to write something, I'm taken back to that mindset that I don’t want to be here. Currently I’m at a point where I need to stay away from it for a while, let that cloud clear a little. With that, there’s always a pressure to keep consistent, in your releasing and performing. Music moves quick. 

I find performing a really big challenge. I’m completely consumed with anxiety and guilt. “I’m no where near as good as the lineup, I don’t deserve this, someone else should be playing, I should just stay at home and never leave”. When that’s running through your head at 1000mph, it gets hard to hear what your playing. 


3. How do you deal with things now? Have you got any advice for those who are struggling themselves, musician or otherwise?

I'm guilty of putting so much pressure on myself. To stay focused, keep creating. But sometimes, it just doesn’t work. Don’t force it. If you want to stop, stop. Don’t feel guilty. Your productivity doesn’t determine your worth. I’m getting better with that now. I think it’s common for musicians (especially solo artists) to hold on so much with a fear of letting go, even for a minute. A fear of loosing your place. There’s new music and labels every day, some people just instantly click. But it’s totally fine to take a break, or even just stop entirely. If you make sure you’re doing what you want to be doing on your terms, everything will be fine. Make time for yourself. 


4. What more do you think can be done in the underground scene or even the wider music scene to support people who may be struggling?

Just listen. Make it known you’re there for your friends, for strangers. Keep being honest with yourself. What am I doing to help? How can I do more? What am I doing to make a difference? What do I need? It’s amazing how much of an impact those questions can have when you start acting on them. When times are tough, know it will pass. 

Thanks go out to Reece for taking the time to answer these questions and for speaking so honestly about his experiences. I'm not posting a charity link up this time, as I realise that donating to charities are a matter of personal preference. 

Sunday 27 October 2019

Corroder - Instinct 7"

Labels: Ramekuukkeli-Levyt/Several Casualties Productions/Tuhkaa & Paskaa Esittaa Records
Formats: Vinyl
Release Date: 01 May 2019


1. Join Us
2. Ecumence
3. Scum
4. Deathwish
5. A Long Day
6. Valid Argument

Back in August I wrote about Corroder's 7" "Doctrine" that forms one half of the double 7" release that also includes "Instinct". Released in May of this year, it's been the first music I've heard by this Finnish hardcore/sludge band and given their lack of Internet presence, that music does the talking. Unlike a lot of Finnish bands that I've featured here, their lyrics are in English. I'm not sure if I mentioned this in my earlier review or not.

As with “Doctrine”, “Instinct” is another short but heavy affair, with EP opener Join Us kicking off with no warning. Corroder’s crusty hardcore sound is overwhelming. Ecumence is even faster and there are subtle signs of sludge floating around the band’s feet, amid the blasting and noisy riffs. Scum follows up as the last song on the a-side in a more claustrophobic manner at first, before Corroder unleashes their frightening hardcore again. While slightly raw, it’s technically strong and enjoyable without being overcomplicated.

The b-side is exactly the same with raging, bass-heavy riffs and a bleak atmosphere on Deathwish. The mix once again of high and low pitched growls adding an edge of excitement. A Long Day brings the pace down with sludge again showing itself. It’s more of a minimalist effort this time, but no less teeth-rattling. It’s the longest song on this EP and it has a strange air of calmness towards the end. EP closer Valid Argument breaks that calm feeling with one final blast of Corroder at their wildest. 

As much as I still love the 7” format, it would be nice sometimes to be able to hear songs without the need to flip them over, which is definitely the case with both Corroder EPs, though I can understand them wanting to stick to the physical format. There’s only one song from “Instinct” available to stream and download via their bandcamp page, so go for it and support the band by picking up this double 7” as it’s certainly worth it.

As mentioned above, Ecumence is available to stream and grab as a name-your-price download via Corroder's bandcamp page below:-

You can buy physical copies by getting in touch with the labels below:-

Several Casualties Productions -

Tuesday 22 October 2019

Glassing - Spotted Horse

Labels: Brutal Panda Records
Formats: Vinyl/Digital
Release Date: 17 May 19


1. When You Stare
2. Sleeper
3 Lobe
4. Coven
5. A Good Death
6 Bronze
7. Follow Through
8. Fatigue
9. Way Out
10. The Wound Is Where The Light Enters

The drain is real! This week isn't fun mentally but I guess I should take the rough with the smooth and enjoy those moments where I can be content. After all, things could be a lot worse and we all need some perspective. That's something that is often found when your deep in musical thought and so I'm hoping that Austin, Texas (USA) metal band Glassing can help. Their second full-length "Spotted Horse" was release back in May via Brutal Panda Records both digitally and on vinyl. They're playing alongside High On Fire, Power Trip and more at Levitation 2019 in Austin on November 7th, so if you happen to be there, go and see them.

This is another one of those albums that has flown under the radar a bit this year. Cinematic soundscapes greet you on opener When You Stare, as riffs and percussion create music that’s as much a haven for post-rock as it is for black metal and ambient noise. I feel like trying to describe their sound in genre terms isn’t fair really and the mid-point of the song demonstrates why, as Glassing’s creativity grows alongside their ability to temper extreme volumes and instrumentation into glorious layers and textures.

From the lengthy opener comes Sleeper, which starts with intense blasting before slowing right back down and presenting a stripped-back sound filled with gorgeous treble-laden guitar work, drums that echo like they’re in the room with you and passionately screamed vocals that are nestled within it all. The impact felt even at this early stage in proceedings is mighty.

Off-kilter metal and post-hardcore are both present on Lobe, with Glassing once again showing that they’re not content with rehashing the same musical shapes on every song. Coven’s ambience transports you to a hazy summer’s morning (the sort where you spare a moment to rub your eyes and take in the world around you, instead of rushing to where you have to be). It stirs up genuine emotion that carries on into A Good Death.

A Good Death takes things a step further as it builds from that hazy summer’s morning feel, into something more alive and serious, with the aid of occasional heaviness punctuating the heavenly clean singing. Dissonance is never far away and when Glassing re-ignites their heavier side, the feeling isn’t ruined. While the longer songs are very compelling to listen to, it’s not often that you can say that a band can pull off those and shorter, more urgent numbers but both seem to suit Glassing, as Bronze shows. Possessing song-writing skill like this is rare these days and is more awe inspiring as a result.

By the time Follow Through comes round, it seems effortless musically and appreciating what is being played becomes easier. There’s no settling for simple song-structures or formulaic phrasing. You’ll be kept guessing as your ears are pulled from passage to passage. Fatigue goes by without you realising it was a separate song, once again making use of calming guitar work and chilled-out percussion.

Penultimate song Way Out hits the spot with almost a nod of punk flowing through it. It’s over all too quickly but that’s fine because The Wound Is Where The Light Enters makes up for that. The profound effect that music has on you sometimes isn’t felt instantly and it’s hard to stay stoney faced at this point. Despite my attempts at superlatives above, there’s no more emotive point on “Spotted Horse” than it’s final act. This album is amazing. Nothing more needs to be said.

You can stream and purchase "Spotted Horse" via Glassing's bandcamp page below:-

Vinyl copies are available above and also via Brutal Panda Records here -

Monday 21 October 2019

Kurokuma/Under - Kurokunder Split 7"

Labels: Astral Noize Records
Formats: Vinyl/Digital
Release Date: 15 Nov 2019


1. Kurokuma - The Tides Of Time
2. Under - Abyssal Gigantism

Here's something that's not even out yet! I'm covering something before it's release for the first time in ages, as a I combat the usual humdrum of real life. This little split 7" features Kurokuma and Under, who once led you to believe they had actual band beef. As it turns out they don't and here's the proof. It's going to be released by Astral Noize Records in November and features an Ecco The Dolphin cover (originally a 1992 Sega Genesis video game) from Kurokuma and an original song from Under. 

A band covering a 16-bit soundtrack is at odds with the whole 16-bit/modular synth scene that exists outside of this sphere, but that’s not the point. The point is that it’s Kurokuma and they’re ace. Their take on The Tides Of Time (from the video game Ecco The Dolphin) is a re-imagining that to some might be unthinkable but to others will make complete sense. Their bass-heavy doom lends itself perfectly to the cinematic soundtrack and is a breath of fresh air in creative terms. Who’d have though it eh!

Haling from the other side of the Pennines to Kurokuma, Under don’t let county boundaries get in the way of their noise-making and Abyssal Gigantism is certainly noisy. It encompasses elements from a whole heap of musical tangents, from the experimental off-kilter vibes of Mastodon and TDEP to the grunge-like vocals and atmospherics of Deftones and Tool. There’s loads going on and it shows a hint of Under’s progression towards a UK prog/sludge/noise mainstay.

This split is fun but it’s also creative. Music needs people to be creative or it’ll fade into mediocrity like many a current pop act (sorry, I’m biased). Kurokuma’s groove has always been a big part of their appeal for me, while Under’s unapologetic noise is born out of true UK grit. Throw your support behind both the bands and Astral Noize Records now and when this 7” is released.

Here's a little video teaser for you:-

You can pre-order this release both digitally and physically via Astral Noize Records here:-

Also, if you feel that way inclined, please consider joining and/or sharing my Patreon - This has been set up to help me go beyond the blog, with projects to include a tape/cd release series and also charitable donations that will account for 50% of all pledges. Thank you.

Friday 18 October 2019

Wallowing - Planet Loss

Labels: Sludgelord Records/Black Voodoo Records/Astral Noize Records
Formats: LP/Tape/Digital
Release Date: 13 Sep 2019


1. I. Prologue
2. II. Earthless
3. III. Phosgene
4. IV. Hail Creation
5. V. Vessel
6. VI. Epilogue

I've spoken many times before about my admiration for the scene that's contained within Brighton. my main introduction to it was through Headless Guru Records back in 2012 and while I've lost touch with it slightly, it's great to see more bands coming though from the South coast city. Wallowing formed in 2018 and after a demo, released in the same year, they released their debut full-length last month with amazing artwork from Luke Oram (Atomck, Let It Die, Monolithian and more). It was released on vinyl by Sludgelord Records/Black Voodoo Records and on specially crafted cassette via Astral Noize Records.

It’s feels so nice to get to this point in the week and sinking into some new music makes it even more worth the wait. Wallowing provides that new music thanks to their debut album “Planet Loss”. Opening track I. Prologue is an instrumental intro of sorts with samples and wailing feedback that drags you into II. Earthless. Unlike the band of its namesake, this song is heavy, sludgy and cavernous in delivery with no upbeat grooves or melodies. It crawls along with retching guitar riffs, feedback and percussion/harsh vocals that sit within the mix adding to the claustrophobia that you’ll feel while listening.

III. Phosgene was the band’s first demo release back in 2018 and it shows a faster side to Wallowing, with grinding passages and breakdown-like riffs. Its urgency is more obvious and there’s a level of technicality that shows they’re not just here to play loud, brutish music. It’s a journey all of itself. Hell  appears during IV. Hail Creation, which weaves post-metal, black metal and doom into one intimidating collage of sound.

They go for the long anticipation-building intro on V. Vessel, which is actually fantastic as it grows in both volume and musical layers. It’s a song of multiple movements. Experimental, progressive and even sometimes slightly improvisational (maybe), Wallowing pulls off something that won’t just appeal to sludge/doom purists, but to those who also like rock at its noisy best. Ending with VI. Epilogue in the way that the album began, calmness is restored but the chaos and dissonance is much missed. Wallowing’s debut full-length is really strong. It sets the standard for what comes next from them but something tells me that they’ll have no problem reaching and even beating it. 

You can stream and purchase "Planet Loss" digitally from Wallowing below:-

Physical copies can be purchased from these links:-

Wednesday 16 October 2019

Great Cold Emptiness - St. Elm's Fire

Labels: Flowing Downward
Formats: Digital
Release Date: 07 Jul 2019


1. St. Elm's Fire
2. The Weeping Stream

My brain needs a switch off. People seem to like making dramas out of needless things. Not sure why I thought funeral doom would help, but I'm willing to take a chance. This particular brand of funeral doom comes from US band Great Cold Emptiness, which used to be a solo-project but has now swollen to a quintet. The band began in 2015 and after releasing a demo, two EPs and two full-lengths (including 2019's "Death Gifted A Bouquet"), they're back with their newest two-song EP "St Elm's Fire", which feature outtakes from the recording session for the aforementioned album and has been released digitally by both the band and with the help of Flowing Downward. 

While the band’s ranks have swollen to a five-piece in recent times, this EP contains only two of those members and “St. Elm’s Fire” is a melodic and sometimes lo-fi take on avant-garde black metal/funeral doom. Cleanly sung vocals sit at the top of the mix on the title-track, backed up by black metal drumming and instrumentation that’s more shoegaze in nature. The harsh vocals mid-way through add some sinister atmospherics to the music, which is where the funeral doom elements start to come through.

Second song The Weeping Stream is slower in tempo and much more doom-like. That reminds about the new Dry Cough Records releases that I need to get on (sorry for mentioning a completely unrelated label in this review). That being said, if people reading this are familiar with that label then after listening to this song you’ll understand where I’m coming from. Great Cold Emptiness channel abject misery here but with a huge chunk of solace as well. The organ-like keys and growling black metal vocals during the song’s latter half make it a more haunting experience albeit only briefly. Once the keys are added to the full cacophony of sounds, there’s a pleasant warmth that washes over you. 

This is definitely an EP of two halves but one that works really well. In some parts abrasive and in others just beautiful, Great Cold Emptiness manage to weave light out of the individual strands of extreme music that make up their sound. This is another band worth exploring in its entirety.

You can stream and buy it digitally for a mere $2 from the band below:-

Great Cold Emptiness -

Monday 14 October 2019

Meditations In Affinity #2 (Cultivation) - Nerver/...And It's Name Was Epyon/People's Temple Project/Apostles Of Eris

Labels: Akashita Corp/The Ghost Is Clear Records/Zegema Beach Records
Formats: Vinyl/Digital
Release Date: 15 May 2019(Digital)/TBA (Vinyl)


1. Nerver - General Erosion Of Morale
2. ...And Its Name Was Epyon - Side Seven
3. People's Temple Project - 2:16
4. Apostles Of Eris - The Kobodera

This week has been a bit of a write-off, which sucks. This review has been in the works for a little while as well. It's the second four-way split 7" to come from The Ghost Is Clear Records and Zegema Beach Records, as well as Akashita Corp on this occasion. It's features US post-hardcore/screamo bands Nerver, ...And It's Name Way Epyon, People's Temple Project and Apostles Of Eris. There's more to come from this 7" series so keep your eyes peeled.

Splits like this have become a great resource for discovering new bands and you can’t get any newer than Nerver, as they’ve only really surfaced over the last few months. General Erosion Of Morale is a heavy slab of post-hardcore that seems to end far sooner than it should. Such a good song though, with heavy riffs, intense percussion and hoarse vox. …And Its Name Was Epyon is a different proposition with Side Seven. There are comparisons you could draw to this band, as their melodic and spoken-word vocals are familiar, though their heavier side is utterly brilliant and compliments their sound perfectly,

Naming your song after it’s length if pretty clever (I think so anyway) and People’s Temple Project does just that on 2:16, which is an angular and experimental piece of screamo. It’s pretty violent but also awesomely musical. It doesn’t last very long but that’s fine, as all of the best things are over before you realise. Apostles Of Eris is at least a familiar name to me and their song The Kobodera is as twinkly as it is intense. Melodic riffs go hand-in-hand with emo-violence and the song ends with a mix of both lo-fi and full-throttle screamo. 

These splits have turned out great so far. Their theme is perfect with each band has their own story to tell and their own take on things, I’ll try and get the other three reviewed as and when they’re released.

Stream the split below, where it's also available to grab digitally:-

Physical copies can be pre-ordered below:-

Zegema Beach Records US Store -
Zegema Beach Records CAN/Intl Store -

The Ghost Is Clear Records -

Monday 7 October 2019

Abysmalist - Reflections Of Horror

Labels: Caligari Records/Self-Released
Formats: Tape/Digital
Release Date: 23 Aug 2019


1. Lascivious Rapture
2. Black Lacquer
3. The Engineer
4. Chain Ripper

Time for some ripping death metal played by dudes who also spend their time playing hardcore, thrash and crossover. In fact, there's a lot of cross-pollination happening right now with the likes of Power Trip, Gatecreeper and Scorched amongst those leading the way. Anyway, Californian duo Abysmalist had only just released their "Reflections Of Horror" demo digitally in August when Caligari Records followed it up with a tape release less than a month later. Let's get into this...

“Reflections Of Horror” kicks off with chugging riffs immediately on opener Lascivious Rapture, where the hardcore influence is there but subtle. There’s also that dirty and grimy undertone created by the bass and vocals, which add seemingly endless amounts of nightmarish low-end torture. The drumming is a mix of blasts and mid-tempo rhythms that certainly help to build on there already dark atmosphere. Both Jeremy Meier and Fred Avila are really skilled musicians. They switch tack on Black Lacquer, which sounds like it was written in the 90s when death metal was in it’s hay-day thanks to the likes of Grave and Incantation etc. The solo within is glorious and accentuates that earlier point even more.

The brooding clean guitar of The Engineer could possibly be a nod to their thrash forefathers, but whatever, it’s a great bit of relief from the extremity. For those that enjoy a bit of melody, this is stellar and it leads into closing song Chain Ripper, which fights back with pace aplenty. Loads of old-school hair-whipping madness and mosh parts are present. The pair that make it happen are seasoned veterans now (it feels like) but that just makes this demo even better. Caligari has knocked it out of the park again with the tape release, while Abysmalist themselves will have you begging for more. Get on this.

Stream and download "Reflections of Horror" below:-

For tape copies head to Caligari Records here -

Caligari Records -

If you want to support the blog, please go to - Thank you.

Saturday 5 October 2019

Mental Health In Music: A Musician's Perspective #3 - Andy Curtis-Brignell (Musician of 13+ Years)

This latest instalment of the Mental Health In Music series features UK musician Andy Curtis-Brignell. Andy has been a part of the UK's black metal/noise community for well over a decade and here he shares his experiences and offers realistic advice to those suffering. I just want to personally thank Andy for taking the time to participate in this interview.

1. The idea of this feature is to talk about the problems that musicians face, especially those in DIY or up-and-coming bands. Would you mind talking about your own experiences with mental health?

A. Of course. I have experienced dissociative episodes from the age of 9 or 10, depression from 11, which graduated into a diagnosis of bi-polar disorder with concomitant attachment disorders combined with a previously undiagnosed Autism Spectrum Disorder. I have intermittently suffered from audiovisual hallucinations, mood swings and suicidal ideation my entire life.It has stained and tainted every part of my existence. I often feel as though I am being tortured in Hell.


2. Being in a band can be an outlet for people to express their feelings and to help them get over certain things in life but do you feel that it can also have a negative effect? If so, what do think these effects can be and are these linked to writing, recording, touring etc?

Until I was correctly diagnosed, music was the only way in which I could express my feelings to anyone. I was locked in. However, I find touring and often simply being in the proximity of other people intensely unpleasant and anxiety-ridden. I have an extremely avoidant personality. It has made doing this as a career....difficult. However, as I said, it is my inspiration. I've had therapy. Lots of therapy. I'm as good as I've ever been. But I am a realist. I do not believe I could now live without my suffering. What would I do? Who would I be? It's a part of me.


3. How do you deal with things now? Have you got any advice for those who are struggling themselves, musician or otherwise?

I am currently medicated. I try to meditate as often as I can, and have found a lot of comfort and stability in marriage and parenthood after nearly two decades of barely remembered hell. I try to only surround myself with people I love, which means my circle is very, very small. I feel a lot more protected with a couple of people I feel closer with than blood than I do with a crew of hangers-on and false friends, which has previously been the case. I used to trust much too easily. Not any more.


4. What more do you think can be done in the underground scene or even the wider music scene to support people who may be struggling?

There is, I think, a reliance on the idea that simply talking about things is going to help. In my experience, until there is a clinical, financial and societal infrastructure to support the mentally ill, anything I can say is simply lip service. Be kind to each other. Be kind to yourself as much as you can. That's all I hold on to.

If you are having trouble seeking out support and services that could help you or others, please reach out to Mind at

Thursday 3 October 2019

Destroyer Destroyer - The Dead Sleep Like Us For A Reason (Re-issue)

Labels: Wax Vessel (Distributed via Pattern Recognition Records)
Formats: Vinyl/Tape/Digital
Release Date: 06 June 19


1. Dead Weight As Far As The Eye Can See
2. Horse-Drawn
3. Error
4. I'm Tired Of Making You Listen And You Listen Good
5. Chainsodomy
6. 1981-2005
7. Why Isn't Dr. Gregory's Office Open? Because It's Sunday. No It Ain't!
8. Don't Be Ridiculous, Doctor.

2019 could be the labelled as the year that Myspace grind and mathcore finally makes it's resurgence. Things tend to go full-circle and now the technical metal that was considered "too scene" over a decade ago comes back around. Leading the charge alongside Mathcore Index is new US label Wax Vessel, which is bringing re-releasing a number of cult records including the 2006 debut from Destroyer Destroyer, which originally saw the light of day in 2006. I have this on pre-order along with the re-issue of The Heartland's "The Stars Outnumber The Dead", but I couldn't wait much longer before giving this a write-up.

Destroyer Destroyer’s sound was one of intense extremity and fast tempos. Captured once again for this re-issue it shows just how extreme they really were. Opener Dead Weight As Far As The Eye Can See mixes high-pitched screams and with grinding drums, super-low breakdowns and constantly changing polyrhythms. This record was classed as more of an EP when it was first released and you can hear why. Its song lengths are short but DD fits a lot into them. Horse-Drawn starts, stops and swings in many different directions while retaining a structure that eschews melody in favour of fret wizardry. It’s not so much progressive as it is just mad.

This record is utterly mental and when you consider that Error stretches to over five-minutes, you’ll be left either in awe of it or wondering what hell you just stumbled into. The mix of grinding terror and subtle post-hardcore riffs will have you scratching your head for sure. They’re back with a shorter and snappier song next in the form of I’m Tired Of Making You Listen And You Listen Good. I’m not saying that Error didn’t work, because it did, but the shorter more crazed sound seems to suit DD better and the 7-string work throughout it is beastly, as are the rest of the instrumentation and vocals alike.

Chainsodomy starts off the second half all too quickly and is over before you know it. It doesn’t get any easier on 1981-2005, which goes by before you’ve even managed to focus your attention on it. Both songs are mental and the super high-pitched screams on the latter are almost as piercing as those put forth by The Body! You have to laugh at titles like Why Isn’t Dr. Gregory’s Office Open? Because It’s Sunday. No It Ain’t!. It fits the music perfectly though, as DD’s bewildering approach to metal is unbelievable. Again, it’s a piercing song in places but it also contains some great off-kilter passages that at times resemble jazz but then again not so much. 

Closer Don’t Be Ridiculous, Doctor. leaves your head in a spin and your ears ringing with feedback. A fitting way to end this monster of a record. I don’t really know what else to say, except that this may well be one of the most extreme releases that I’ve dared play in my flat for a longtime (especially with neighbours both above and below me). I missed out on it first time round, so getting opportunity to pick a re-issued copy now is great. Vinyl copies are limited to just 200 and tape copies to 110. Grab one while you can!

You can stream "The Dead Sleep..." and grab it digitally or on one of the last remaining 18 tapes via Pattern Recognition Records below:-

This Noise Is Ours Patreon -